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The NewCrits Podcast: Daily Summaries Delivered
by with Ajay Kurian
This is what critical care for the arts sounds like. Meaningful conversations on creative practice and the conditions shaping artistic life today. Tune in on the second Thursday of every month for SPENT with Ajay Kurian, our series on creative burnout and breakthrough, and on the fourth Thursday for The Forum, our recorded artist talks.
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- 1 weeks ago1h 27m
The/Forum 26 | Kevin Beasley
Ajay Kurian sits down with artist Kevin Beasley, the recipient of the Studio Museum in Harlem’s 2026 Joyce Alexander Wein Artist Prize (congrats, Kevin!). Beasley's sculpture, sound, and drawing hold together histories that rarely share a room. At the Whitney Museum in 2018, Beasley’s A View of a Landscape had a cotton gin motor whirred silently inside a soundproof vitrine: its noise set loose and transformed by collaborators in the listening room next door.Through this conversation, Beasley separates the responsibility of a Black artist from the expectations placed on one by landing on the core values of community care. He explains why the gestures that matter most to him are the ones he can never replicate and how thirty years from now, he’d like to run a marathon. In a way, he’s already running one.00:00 – Episode Preview00:58 – Introduction to Kevin Beasley03:39 – Sport Utility, Marshawn Lynch, and artistic vulnerability07:33 – Playfulness and the pressures of the art world10:40 – Football, violence, and material experimentation15:10 – Automotive design and the origins of working with resin18:54 – Crushing a Cadillac: Family, identity, and American history25:43 – Childhood, drawing, and early artistic influences31:58 – From automotive design to fine art37:17 – Protecting yourself and finding mentorship as an artist43:30 – A View of a Landscape and the Whitney exhibition48:10 – The cotton gin motor, memory, and sound55:46 – Storytelling, abstraction, and accessibility58:09 – Multiple entry points into a work of art01:03:53 – Identity, contradiction, and embracing complexity01:05:47 – Kevin's hopes for the next thirty years01:07:52 – Audience Q&A: Landscape and the act of drawing01:12:55 – Responsibility versus expectation for Black artists01:17:53 – Artistic freedom, core values, and social pressures01:22:00 – Performance, choreography, and capturing moments in timeFull transcript available soon on Substack 🎧 Get full access to NewCrits Substack at newcrits.substack.com/subscribe
- Oct 8, 20261h 6m
SPENT Episode Seven | Stephanie Wambugu
Ajay Kurian sits down with writer Stephanie Wambugu, whose debut novel Lonely Crowds arrived last year to considerable acclaim, for a conversation that begins with the anxiety of ambition and opens into questions of friendship, artistic survival, and what it costs to keep working in a world where someone else's book lands on the shelf every Tuesday.Wambugu, the youngest child of Kenyan immigrants, talks about the novel's two Black women artists coming up in the 1990s New York art world, and the friendship at its center: one woman who decides very early to make herself secondary to the other. She and Kurian trace how Ruth and Maria felt real enough to believe in, why Wambugu finds them more self-sabotaging the further she gets from the book, and why friendships can wound as lastingly as romances while having little language to describe the damage. She explains why she set the book in the 1990s: a friend's thesis on the 1993 Whitney Biennial, which aimed to put white artists in the minority for the first time, struck her as a moment of hope that never fully materialized.The conversation also turns to the habit of reading Black writers sociologically, whatever the work is actually about, and to what Wambugu calls the defanging of Toni Morrison and James Baldwin into totems of feel-good inspiration. Along the way, Kurian shares the story of a gifted artwork surfacing at an Ohio flea market, and Wambugu reflects on how watching books arrive and quietly disappear at a bookstore shaped her sense of ambition and impermanence, and taught her how rare staying power really is.00:40 — Introduction to Stephanie Wambugu and Lonely Crowds03:32 — Family, immigration, and choosing a creative life07:22 — Altered states, experimentation, and transcending the self11:40 — Dreams, the unconscious, and writing fiction16:19 — Creating Ruth and Maria: believing in fictional characters19:26 — Codependency, boundaries, and the psychology of Lonely Crowds20:41 — The novel’s circular structure and ambiguous ending23:43 — Turning real experiences into fiction26:57 — Friendship, emotional wounds, and the influence of Sula31:18 — Protecting one’s inner life and maintaining boundaries35:47 — Ambition, responsibility, and knowing your limits38:08 — The single-mindedness required to pursue art and writing40:29 — Publishing, professional anxiety, and sustaining momentum44:51 — Why Lonely Crowds takes place in the 1990s art world46:08 — The 1993 Whitney Biennial, representation, and artistic opportunity53:19 — Race, sociological readings, and the limitations of criticism57:31 — Jazz, Thelonious Monk, and navigating white institutions1:00:25 — Toni Morrison, James Baldwin, and the simplification of literary figures1:03:53 — Why contemporary criticism should match the quality of the work1:05:24 — Closing rapid-fire questions Get full access to NewCrits Substack at newcrits.substack.com/subscribe
- Sep 22, 20261h 14m
The Forum 25 | Alex Da Corte
Ajay Kurian sits down with artist Alex Da Corte, whose recreations, personas and total immersion into figures from Marcel Duchamp to Eminem have made him one of the most distinct and prolific voices working today. So much so that he has been tasked with co-curating the Whitney Museum’s survey on Roy Lichtenstein with Meg Olni, opening on October 11th, 2026.The conversation begins with the sandwich as a transgressive object — central enough to his practice that the title of one show, As Is Wet Hoagie, is tattooed on his arm. It morphs into reflections on dressing up as Michael Myers to stalk his own parents, and lands with the strange intimacy of inhabiting someone else's body to better understand your own.Da Corte traces his practice back to his first video, made when he was thirty, living with his parents, and costuming himself out of grocery-store flour and coffee — a far cry from the eight to fifteen hours of prosthetics his work now demands. He describes the disorienting experience of being mistaken for Eminem by a stranger — and, for a jet-lagged moment, mistaking himself for Slim Shady too — an accident that led him down a decade-long road of playing the rapper. He and Kurian also discuss his recreation of a lost Paul Thek sculpture and his one-time-only performance as Duchamp at the Met.Throughout the conversation, Da Corte reflects on how objects and images shift as memory erodes and on what happens when you finally meet your own fantasy. Kurian, at the close, calls Da Corte a sort of “pop doula,” and the two end by giving thanks to not just one another, but also to the wind.00:00 – Introduction to Alex Da Corte04:00 – Leonard Cohen’s Chelsea Hotel No. 208:34 – Costuming, puppetry, and the body11:17 – Illness, identity, and artistic practice13:03 – The sandwich as a recurring motif14:03 – As Is Wet Hoagie: Memory, fantasy, and fiction19:19 – Religion, transformation, and memory22:45 – Dementia and the architecture of memory24:06 – Parade: Storefronts and nostalgia28:40 – Letter writing, waiting, and time30:06 – The Pink Panther and inhabiting characters35:02 – Becoming Eminem38:49 – Stalking his parents as Michael Myers43:03 – Reconstruction as an act of love45:55 – Recreating Paul Thek’s The Tomb50:31 – Embodiment and becoming Marcel Duchamp53:26 – Roy Lichtenstein at the Whitney56:54 – Art, friendship, and personal transformation01:01:05 – Giving thanks to the wind01:02:48 – Audience Q&A01:03:18 – Easternsports: Collaboration and production01:07:48 – Acting, improvisation, and embodiment01:11:20 – Artistic confidence, permission, and ego01:14:01 – ClosingFull transcript available on Substack 🎧 Get full access to NewCrits Substack at newcrits.substack.com/subscribe
- Sep 10, 20261h 11m
SPENT Episode Six | Vijay Masharani
Ajay Kurian sits down with artist Vijay Masharani for a conversation that begins with a confession about hating the highway and expands into an exploration of cliché, mortality, and what it means to keep making work from inside an unresolved illness.Masharani, who showed in this year's MoMA PS1 Greater New York, talks about his approach to video and drawing — work that hits hard and fast, straight down the middle, refusing easy resolution — and traces how his practice shifted after being diagnosed with blood cancer twice, including a hospital stay where he was ordering drawing paper from Blick's website on bedrest. He and Kurian dig into cliché as a kind of sedimented truth, Drake's theory of what makes a pop hit work, and why Philip Guston's relationship to mortality and mass has become a constant reference point for him.Throughout the conversation, Masharani resists the idea that his illness is a resolved, past-tense event — describing himself instead as living in a kind of purgatory, mediated by a monthly blood test that's essentially binary — and reflects on impatience, discipline, and why, even at his lowest, he never stopped being an artist.Timestamps00:00 — “I hate the highway”02:47 — Cliché and immediacy04:53 — The deer in the green tank10:55 — Greater New York at MoMA PS113:01 — Cancer and recurrence14:25 — Art after cancer21:42 — A game of taste24:16 — Art and politics32:26 — The “stove toucher” tendency36:29 — Making exhibitions41:03 — Exhibitions as albums46:32 — Drake and the imperfect pop hit49:01 — Returning to art after cancer53:23 — Why keep making art?57:32 — Philip Guston and mortality01:00:54 — Soutine, painting, and mass01:03:01 — Living in purgatory01:05:27 — Modernism and illnessVijay Masharani: I hate driving on the highway.Ajay Kurian: Damn, I didn’t know this.Vijay Masharani: I hate driving on there. I hate being in the car when someone else is driving on the highway.Ajay Kurian: Really?Vijay Masharani: I hate the highway, dude. I think the highway is wrong. I think it’s American thanatophilia, as an urban spatial form. I hate the highway.Ajay Kurian: Vijay Masharani is an artist, writer, and educator based in the Bay Area. He makes drawings, videos, and texts that are obsessed with the letter, the glyph, the geometry of meaning. Work that hits you hard and fast and then refuses to let you go. His videos open cold. His drawings span from the highly structured to the loose and associative, and the whole practice is organized around a single conviction: if the problems of language make you uncomfortable, you can’t flee to the body. And if the body makes you uncomfortable, you can’t just retreat above the neck.He’s currently showing at MoMA PS1’s Greater New York, a survey of the New York art scene that happens once every five years, which is the most eyes he’s ever had on his work. I’ve known Vijay since he was in undergrad. My first visit with him was back in 2016 at MICA, the Maryland Institute College of Art. Since then, we’ve gotten closer, collaborated on projects, and even spent a summer together at Skowhegan, where I was faculty and he was a participant. Not long after, he was diagnosed with blood cancer. Then diagnosed again. He’s made three shows since.We talked about what it means to make art from purgatory — not after a near-death experience, but inside one, where the blood test every month is essentially binary and the book is not yet closed. We talked about cliché as a sedimented truth, about why Drake said there has to be something wrong with a pop hit, about what Philip Guston understood that most painters don’t. And we talked about what changed in the studio after cancer and what stayed the same, and about why, in the end, he couldn’t stop making things even when he had every reason to.This dude was literally ordering paper from Blick on his hospital bed.Here is my conversation with Vijay Masharani.Vijay Masharani: I like clichés. I like so many clichés and I like stuff that’s right down the middle. I think in art there’s a bias toward the oblique, and every now and then it can feel really good to go down the middle. To me, that’s what a cliché can do. I think if people have responded to the work, for example, — especially the video work from early on — it’s because there’s something about the standard for video art, the way it stands apart from, or at one point stood apart from, though maybe still does from the more oblique or highly mediated kind of thing. I think the work for me was, hopefully, pretty visually forward and kind of frontal, but then not immediately digestible. That combination.Ajay Kurian: So what you’re saying is the video form in early video art may come off as a little esoteric or oblique to
- Sep 2, 202658 min
The Forum 24 | Ed Solomon
Screenwriter Ed Solomon discusses The Christophers and reflects on his career and creative process. Solomon discusses mentorship, writing intuitively, working with actors, navigating criticism, and finding a way through creative blocks.Hosted by Ajay Kurian00:00 — Welcome to The Forum00:18 — Garry Shandling02:34 — Writing The Christophers04:05 — Trusting the writing process06:37 — When success gets in the way08:37 — Letting the project evolve10:08 — The four stages of competence12:24 — Letting characters surprise you15:04 — Writing for great actors17:35 — Rehearsing with Ian McKellen18:47 — The power of silence20:19 — How scenes change each other23:10 — The terror of letting go25:28 — Finding the flow state26:17 — Inspiration is bullshit28:51 — When Lori became his mirror34:17 — Give your characters a history35:48 — Cultural tension in storytelling38:08 — The pain of criticism40:16 — How to take notes43:34 — Managing creative emotions46:28 — His mother’s influence49:55 — The importance of mentorship52:41 — Audience Q&A52:59 — Getting through the second act54:17 — Getting unstuck55:00 — Working backwards56:00 — What would be the coolest thing to happen next?58:38 — Closing Get full access to NewCrits Substack at newcrits.substack.com/subscribe
- Aug 26, 202651 min
Episode Title: The Forum 23 | Inside The Studio Panel
Three artists reflect on their experiences working as assistants to established artists. Ian Cheng, Darren Bader, and Jamian Juliano-Villani discuss apprenticeship, authorship, studio culture, and the lessons—both practical and personal—they carried into their own practices.00:00 — Introduction02:36 — Becoming Assistants04:10 — The Studio as Education07:37 — Learning the Craft09:13 — Building the Impossible10:54 — Authorship14:54 — Power & Studio Culture18:37 — Learning Through Failure22:50 — Good & Bad Habits30:23 — Assistants as Teachers34:30 — Knowing When to Leave40:12 — Assistants & Authorship42:03 — Learning the Business45:28 — Art & Precarity47:42 — Why Do It?00:00:00 Ajay Kurian: Next to me here is Ian Chang. He’s an artist known for his live simulations, works that unfold over time using game engines and AI. His work has been shown at the Serpentine Galleries, MoMA PS1, Gladstone Gallery, and earlier in his career, he worked with Pierre Huyghe, which I think informs, uh, some of the ways that Ian had started to think about his work. But I’m curious to see what that relationship was. Pierre is an internationally renowned artist and has worked in massive ecosystems, taking over entire museum spaces and building things from bacteria to, you know, all sorts of crazy stuff. Um, going down the line. Next is Darren Bader. Darren is an artist whose work spans objects, language, and instructions, often questioning what an artwork even is or who it belongs to. He’s exhibited at the Whitney Museum of American Art, the Palais de Tokyo, and the Dallas Museum of Art. Uh, sorry, the Museum of Modern Art in Dallas and his practice consistently unsettles ideas of authorship, making him especially interesting voice here. And he worked for the artist Urs Fischer. Um, you mentioned another artist you worked.00:01:11 Darren Bader: For, Donald Bachelor, whom, um, the late Donald Bachelor whose estate I work for now, but he’s um. Well, yeah.00:01:19 Ajay Kurian: We’ll get there.00:01:19 Darren Bader: I did, yes, I did my time with two artists, um, very, very educational.00:01:25 Ajay Kurian: And last but not least, Jamie and Juliano-villani is a painter whose work moves quickly between images, cartoons, art history, and the internet, held together by a sharp, instinctive sense of composition. She’s shown with Gagosian, Jeffrey Deitch, and at the Metropolitan Opera House. And earlier in her career she worked for Dana Schutz as well as the painter Eric Parker. So, uh, that’s actually how me and Jamie met Eric. Studio and Banks’ studio were right next to each other, and we were both assisting these artists. And yeah, Damien was just like, yeah, she, she was just in a little room and we were all just working away. So everybody give it up for all these, all the artists here. All right. Who wants to go first? No. Um, what I’m curious about is, uh, in the studios that I mentioned that you all worked for, were those studios that you sought out yourself or was it just a job? Yeah.00:02:36 Ian Cheng: Um, yeah, I was in grad school at the time at Columbia, and I was, um, had a terrible time there. I didn’t know who I was or what I was doing. Um, I really just sat in my studio checking my email, getting no email and just, uh, just looking at the wall, waiting for the next crit to happen with nothing to say. And at the end of those two years of grad school, um, the one positive relationship I had was with, uh, Liam Gillick, who was like a kind of visiting professor. And I was like, what am I gonna do with my life? I’m gonna, I’m gonna apply as a UX designer to Google New York because I just need some totally no response rejection. And I thought, what else could I do? And I said, Liam, you know, can you hook me up with PR wigs, email? Like, I’d love to. I’ll be his dream printer. I literally pitched myself, I’ll be his dream. I can just like make anything. Um, and Liam was like, I’ll get back to you. And he gets back to me. He’s like, he used the words Pierre offers you his email, which was kind of interesting way to not like do the CC connection, but just to like, just take it from here, kid. Uh, email Pierre like pitched him like, you know, had a, had a quick meeting like, oh, I didn’t have no, had no credentials. Um, and simultaneously I thought, oh, fuck, like I need another job too. So I went to like Paul Chan’s website. Wow. Um, national philistine and just like emailed him like, hey, hi. I think like we have a lot in common. Like, can we meet? And so the next week, I met with both of them. And suddenly I had two artists kind of assistant jobs. Oh, wow. And yeah, it really kind of really began their shoot.00:04:07 Jamian Juliano-Villani : Really good taste too, you know?00:04:09 Ajay Kurian: Yeah. Those are great artists.00:04:10 Ian Cheng: Well, how’s it go with people that you respect? I just thought like, oh, grad school is so bad. I
- Aug 4, 20261h 48m
SPENT: Episode Five | Marc Spiegler
For nearly a decade, Marc Spiegler served as the Global Director of Art Basel, helping shape one of the world’s most influential institutions in contemporary art. Earlier this year, his New York Times opinion piece on the challenges facing commercial galleries sparked widespread conversation about the future of the art market and the pressures confronting artists, dealers, and collectors alike.In this episode, Marc reflects on his path from journalism to Art Basel, the evolution of the global art world, and the lessons he took from leading an institution at the center of it all. We discuss his recent writing, the expansion of the international market, the role of technology and AI, the economics of art fairs, and why he believes galleries need to rethink how they build relationships with collectors.Along the way, Marc shares his perspective on financialization, speculation, collecting, and what a healthier, more sustainable art ecosystem could look like.This is a conversation about leadership, markets, and how the art world can continue to evolve without losing sight of the artists at its center.Art Galleries Are Not OK, NYT Opinion: https://www.nytimes.com/2026/06/19/opinion/art-basel-fairs-gallery-market.html?eafs_enabled=falseMarc Spiegler Instagram:https://www.instagram.com/marcspiegler/?hl=enHosted by Ajay Kurian Produced and Edited by Peter Groppe00:00 Introduction04:23 Growing up around artists and becoming a journalist08:12 The unlikely path to leading Art Basel12:20 Leadership lessons and managing a global institution14:08 Expanding Art Basel: Asia, digital strategy, and the future17:05 AI, technology, and why change is inevitable23:00 His New York Times essay and why galleries need to think differently28:14 Financialization, speculation, and the art market34:30 Collectors, gatekeeping, and the changing role of galleries39:40 Resale contracts and protecting artists from speculation44:55 Why art fairs cost so much51:35 How galleries actually benefit from participating in fairs52:15 Auctions, speculation, and the evolution of the secondary market58:55 Have collectors become today’s tastemakers?1:08:00 Museums, collectors, and building the next generation of patrons1:15:00 Why galleries are struggling today1:23:00 Advice for young galleries navigating the current market1:30:00 What a healthier art ecosystem could look like1:36:00 Closing thoughts00:00:00 Ajay Kurian: We’re living in an era of exhaustion, and artists and creators aren’t immune to this. We’re trying to figure it out, too. Welcome to spent from the new podcast. I’m your host, AJ Kurian, an artist, writer, and educator. I’ve been in the art world for nearly twenty years, shown all over the world, and taught at universities like Yale, Columbia, Parsons and Bard. The art world is a confusing and opaque place, but all of it tends to make a little more sense to me when I talk to one person at a time. Why do you think people blame you for this over financialization? 00:00:35 Marc Spiegler: I don’t know at all. I think it’s completely bogus. Like because. Because, I mean, first of all, like, like before I was running Art Basel and while I was running Art Basel, I was always against financialization. Like I’m literally was quoted in the New York Times talking about Art Basel, Miami Beach, the week of Art Basel, Miami Beach, and saying something like eighty percent of the art that’s sold next week will be worthless in twenty years. You know, and I wasn’t just talking about Art Basel, Miami Beach. I was talking about all of the twenty five fairs, but, you know, um, I was always very clear about the fact that people should buy art that they like, not buy art as an investment. You know, I mean, I had a funny thing, um, I wrote this article for the Business of Fashion column that I had last year. Um, and the title was something like we need to stop hyping art as an investment, you know, and, and, uh, Jamie Kenyon, your friend of mine wrote to me and said, I love this, this new mark unleashed. I’m like, dude, I’ve been saying this forever. You know, people are just noticing it now. But like, I was very clear about that. 00:01:39 Ajay Kurian: Mark Spiegler spent about a decade as the global
- Jul 30, 20261h 1m
The Forum 22 | Baseera Khan
Baseera Khan joins Ajay Kurian for a conversation that begins with a Garfield drawing contest and expands into an exploration of storytelling, identity, and the politics of material.Khan reflects on finding her artistic voice through tracing comics, navigating graduate school as a search for self rather than an entry into the art world, and developing works that blend performance, sculpture, painting, and sound. Together, they discuss Braid Rage, acoustic blankets, museums, language, surveillance, and the hidden histories embedded in everyday materials.Throughout the conversation, Khan shares how dreams, humor, intuition, and personal experience shape a practice that resists fixed definitions while examining capitalism, representation, and belonging.About the GuestBaseera Khan is an interdisciplinary artist whose work explores identity, labor, material culture, and systems of power through sculpture, painting, performance, installation, and sound. Their work has been exhibited internationally, including solo exhibitions at the Brooklyn Museum and Participant Inc., and they were the winner of The Exhibit: Finding the Next Great Artist.https://baseerakhan.com/00:00 Intro00:20 Garfield, Nermal & learning to draw through comics05:20 Finding an artistic path through Cornell and self-discovery12:20 Storytelling, language, and the influence of Michael Asher18:50 Braid Rage, dreams, and making work without sketches26:50 Fabric, family, and the materials of memory29:50 The “I AM MUSLIMA” Nike project, identity, and capitalism34:45 Performance, acoustic blankets, and surveillance42:30 Petroleum, plastic, and giving museum objects a voice50:50 Working with museum archives and historical collections54:20 Reality television, identity, and staying grounded1:00:30 Art, ambition, and closing thoughts00:00:00 Ajay Kurian : Welcome to the forum from the new podcast. I’m your host, Ajay Kurian. The forum is a free monthly gathering in New York where artists and thinkers come together for a live conversation. Well, you’re about to hear was recorded in front of a live audience. For details on upcoming events, sign up for our newsletter at new dot studio.00:00:19 Ajay Kurian : I was really tickled by this like, fact that I learned about Baseera literally just a few days ago, and just a few minutes ago, I had this idea. Um, so we’ll see how it goes. But basically we both got into art. Art meaning like drawing of any kind image making, um, through Garfield. And I didn’t know this until a few days ago.00:00:47 Baseera Khan: So do you guys know who Garfield is?00:00:50 Ajay Kurian : Yes. Okay.00:00:52 Baseera Khan: Do you know who Nermal is? Of course you don’t. Because that was the femme cat behind Garfield.00:01:02 Ajay Kurian : It’s true. What I wanted to see if Baseera would be down to do is if we did a little Garfield drawing contest right now.00:01:12 Ajay Kurian : Do you guys.00:01:13 Baseera Khan: Like that idea?00:01:14 Ajay Kurian : Yes.00:01:15 Baseera Khan: I haven’t thought about Garfield in a very long time. And I have to also tell you the reason why. The reason why I started drawing Garfield was not because I innately was interested in like, Garfield and drawing. It was that I was interested in the stories and the storytelling. And, um, my brother would always run to the library and rent all of the books. And he was in his phase where he didn’t want to share. I mean, he’s a very generous human.00:01:49 Ajay Kurian : Is he older or younger?00:01:50 Baseera Khan: Two years older.00:01:51 Ajay Kurian : Okay. Okay. So it’s close.00:01:53 Baseera Khan: He’s a generous human. You know, I know I’m being recorded. Love you. William. But at the time, he was going through a phase where he wanted everything to himself. So I would sneak the books out of his bag and I would trace them. I would trace the drawings and make my own books. And I think through tracing the books, I started creating my own version of the cat. So just my pardon. If the cat looks like other things.00:02:24 Ajay Kurian : That’s totally fine. This is all in good fun. Um, and I also, it’s again, like, it’s just crazy to hear that that’s also how you came to it because weirdly, there’s ideas of familial surveillance. There’s ideas of like having to take a story and make it yours because it wasn’t being offered to you in the first place. There’s just like strange dynamics that feel like there’s parallels in the work itself.00:02:52 Baseera Khan: One more thing before we st
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About The NewCrits Podcast
This is what critical care for the arts sounds like. Meaningful conversations on creative practice and the conditions shaping artistic life today. Tune in on the second Thursday of every month for SPENT with Ajay Kurian, our series on creative burnout and breakthrough, and on the fourth Thursday for The Forum, our recorded artist talks.
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